We Live Here OFF-BROADWAY REVIEWS

  • NY TIMES

  • VARIETY

  • EW

  • TM

  • TALKIN' BWAY

Opening Night:
October 12, 2011
Closing:
November 6, 2011

Theater: New York City Center / 130 West 55th Street, New York, NY, 10019

Synopsis: 

Allie Bateman's wedding is Sunday. When Dinah, her precocious younger sister, returns to their parents' home for the festivities, she brings more than anyone expected: a new boyfriend, whose hidden history resurrects passions and painful memories for the whole family. Over one emotionally charged weekend, The Batemans must acknowledge and accept loss to gain hope for regeneration Zoe Kazan, one of New York's most acclaimed young actors, returns to MTC for her New York playwriting debut with this world-premiere, MTC-commissioned play--an incisive and beautifully rendered portrait of a contemporary family coming together through grief and celebration.

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  • NEW YORK TIMES REVIEW OF We Live Here

    A Wedding and an Unwelcome Guest

    Charles Isherwood

    October 12, 2011: A wedding is an easy peg to hang drama on, for reasons that hardly need much elaboration. Two words suffice: family togetherness. In “We Live Here,” a programmatic play by Zoe Kazan that opened on Wednesday at City Center in a Manhattan Theater Club production, the summer nuptials of the daughter of an artsy clan in New England brings about a painful family reckoning with the impact of a tragedy from a dozen years before.

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  • VARIETY REVIEW OF We Live Here

    We Live Here

    Marilyn Stasio

    October 12, 2011: Actor-playwright Zoe Kazan ("A Behanding in Spokane") sets the stage for a tense family drama in "We Live Here" when a gifted Juilliard student brings an unsuitable boyfriend home for her older sister's wedding. But despite some artful dodging by helmer Sam Gold, events never get past the foreplay stage, putting some very capable performers in the awkward position of having to look busy while spinning in place. From the looks of it, Manhattan Theater Club jumped the gun by mounting a mainstage production of this commissioned piece before it was in shape to come out of workshop.

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  • ENTERTAINMENT WEEKLY REVIEW OF We Live Here

    We Live Here

    Thom Geier

    October 13, 2011: Zoe Kazan is bursting with talent. She is best known as a talented actress in both films (Revolutionary Road) and plays (Broadway's The Behanding in Spokane). With We Live Here, a handsomely produced drama playing at the Manhattan Theatre Club's Off Broadway space at New York City Center through Nov. 6, she makes a promising debut as a playwright as well.

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  • THEATERMANIA REVIEW OF We Live Here

    We Live Here

    Chris Kompanek

    October 13, 2011: Zoe Kazan has established herself as one of the theater's most exciting young actresses, and now she has debuted her first Off-Broadway play, We Live Here, at Manhattan Theatre Club -City Center. The work proves to be an acutely observed family drama, and it receives a fine production, directed by Sam Gold and acted by a wonderful cast.

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  • TALKIN' BROADWAY REVIEW OF We Live Here

    We Live Here

    Matthew Murray

    October 13, 2011: Secrets aren't everything in Zoe Kazan's new play "We Live Here", which just opened at Manhattan Theatre Club: They're the only thing. One suburban New England family has so grown to thrive on them, in fact, that they're barely able to carry on whenever they're allowed to just say exactly what they mean. If you're thinking that can't be a great way to live, you're undoubtedly right. But it's a worse way to structure a play, especially when — as here — all that subterfuge is so hopelessly manufactured that it's impossible for it to also be interesting.

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  • TALKIN' BROADWAY REVIEW OF We Live Here

    We Live Here

    Matthew Murray

    October 13, 2011: Secrets aren't everything in Zoe Kazan's new play "We Live Here", which just opened at Manhattan Theatre Club: They're the only thing. One suburban New England family has so grown to thrive on them, in fact, that they're barely able to carry on whenever they're allowed to just say exactly what they mean. If you're thinking that can't be a great way to live, you're undoubtedly right. But it's a worse way to structure a play, especially when — as here — all that subterfuge is so hopelessly manufactured that it's impossible for it to also be interesting.

    READ THE REVIEW

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